Aesthetic Freedom Theory

Taking western modern philosophy and aesthetic history as the background,the dissertation analyses the meaning of aesthetic freedom in four aspects as followings: the relation between aesthetic and suffering,the relation between aesthetic and reason, and the relation between aesthetic and form.Based on the beginning of the western modern subject philosophy, the chapter 1 evaluates and analyses Descartes, Hobbes and Kant's views of freedom, compares Kant and Schiller's views of aesthetic freedom. In addition, the dissertation also compendiously introduces Schopenhauer's views of will freedom and his aesthetic thoughts, and evaluates and analyses their contribute and limitation in the whole aesthetic history.The chapter 2 points out that human's activity of objectification is a unity of activity and suffering. The aesthetic activity is not only related to the activity of practice, but also related to the suffering of practice. Because of ignorance of the suffering, the traditional mentalism philosophy abstractly developed human's activity. From the angle of suffering, the paper explains the relation between non-utility and utility in the aesthetic, and draws a conclusion that aesthetic freedom is not only something of activity, but also something of suffering.The chapter 3 describes the relation between aesthetic freedom and reason. Analysing the proposition of conformity to law and of conformity to end, the paper points out the law should not be regarded as one of epistemology, and that conformity to law does not means conformity to nature law. That is to say, conformity to law is conformity to law without law. In addition, the chapter also discusses the relation between aesthetic freedom and morality, which shows that the aesthetic judgement is one of individual experience, while the moral judgement is one of transcendence .So we can't mix the standard of moral judgment with the standard of aesthetic judgment. They supplement each other. At last, the chapter also demonstrates the hermeneutic connotation and the criticizing ideological character of aesthetic freedom.The chapter 4 analyses the relation between aesthetic freedom and form, identifies the relation between aesthetic form and aesthetic feeling, and differentiates aesthetic form from realistic actuality. In addition, the dissertation extends the meanings of form, regards the form of social intercourse as the form with which human associates with the world. It also shows the structural factors of production relations hidden in the aesthetic form, fromwhich the chapter also exposes the historical connotations of aesthetic transcendence. Llastly, the paper points out that aesthetic freedom will be unified with the activity freedom in the communisms society after the sublation of private ownership.